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Textes Originaux Et Traductions Document generated on 09/25/2021 12:38 p.m. Vie des Arts Texts in English Textes originaux et traductions Volume 25, Number 100, Fall 1980 URI: https://id.erudit.org/iderudit/58855ac See table of contents Publisher(s) La Société La Vie des Arts ISSN 0042-5435 (print) 1923-3183 (digital) Explore this journal Cite this article (1980). Texts in English: Textes originaux et traductions. Vie des Arts, 25(100), 86–90. Tous droits réservés © La Société La Vie des Arts, 1980 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ TEXTS IX ENGLISH THE HUMAN LENS OF GABOR SZILASI By Katherine TWEEDIE Traces of man interest me very much, whether it's architecture or interiors or just a street or sign. There has to be a connection between nature and man in my photographs, (GABOR SZILASI) Probably no other photographer has worked so intensively in Quebec, tracing interior and exterior environments of rural towns, portraying people in their milieu which reflects choice, social class and taste. From Abitibi, Ile aux Coudres and Beauce to Rue St. EDITORIAL Catherine, Montreal, the Texan Restaurant, Canada Cement and Bombay Boutique, we associate a human presence with the T.V.- By Andrée PARADIS inhabited interior and the flickering neon exterior. The recent exhi­ bition at the Musée d'Art Contemporain presented four diverse but Our hundredth issue proposes to reflect the spirit of celebration intrinsically related aspects of Szilasi's work. The introductory seg­ produced by the duration of an experience and its fidelity to original ment consisted of double images: a black and white portrait adjacent objectives. to a colour interior of the individual's living or work space. Subse­ In the first issue, which appeared in January-February 1956, the quently, we were confronted with large portraits of intimate friends body of editors, conscious of "the profound renaissance that is situated in somewhat anonymous backgrounds, a precise, formal affecting not only the world of forms and colours but also and par­ sequence of photographs of St. Catherine Street and finally, the ticularly the very spirit of the work of art", undertook to sustain, to iconographie architecture of Abitibi. foster the expansion of this climate that was in reality more revolu­ In the early seventies, interiors and portraits were two individual tionary than renascent. This they hoped to do by establishing through and separate facets of Szilasi's documentary work centered in rural the means of an art magazine a close contact between artists and Quebec. In the first part of the exhibition, these two facets are the public; that is, between the producers and the consumers of the joined, drawing a closer relationship between the individual and artistic object. This appropriately cultural rôle that Vie des Arts his environment. The juxtaposition is radical. Not only are the intended to play was directed toward all the elements of human subjects different, but one photograph is in black and white, the culture. Gérard Morisset, the first director of the publication, con­ other in colour, one has a relatively obvious grain structure, the ceived it in this way at the beginning: "Our magazine, therefore, will other fine resolution. essentially be an organ of information, as wide and as complete as Complementary and contradictory issues surface. Illusions of possible. All the artistic disciplines will have their part in it, those the photographic image fluctuate between imagined colour and given of the past as well as those of the present. Current trends will be colour, between psychological and physical presence in the portrait the object of a careful and impartial study; because Vie des Arts is and informative details relinquished by the interior. The two photo­ in no way directed against any group of artists but, rather, toward a graphs interact. For example, the portrait of Cheryl Fleming presents greater comprehension of art. At the time when the rift is being an innocent-looking woman against a bookcase shelving a collection widened between a certain art that is legitimate and a certain public of dolls. Reinforcing symbolism. In the adjacent interior, a pink and which asks only to understand but does not always have the power yellow graphic whooshes across the wall, a pink velvet divan lan­ to do so, it is not the moment for a more or less fruitless quarrel but, guishes in the centre of the room, plants flourish. The portrait con­ instead, for educational action. To make the work of art understood, tradicts the interior which illuminates the portrait. Innocence fades to make it felt" as the slit skirt moves farther up her leg. This was our line of conduct during the last quarter of the cen­ tury, when we tried above all to adapt ourselves to the conditions Double images of the technical system that defines our societies and that imposes On another level, this shift exists with respect to the physical on an art magazine the duty of being the mirror of modernity. There activity of the photographer. In most of the double images, there is remains the liberty of confronting this modernity and re-establishing a visual reference in the portrait to the interior: the corner of a chair, balances while attempting to escape the limits of an extremist intel- a telephone, a picture creeping in on the edge. These visual keys lectualization, responsible for varied orientations of the ways of reappear in the colour interior, their position relative to the frame creation. Among our functions is that of explaining the phenomenon changed, their tone amplified by colour. This shift in space and in more than supporting it, and we have above all sought to make of time reflects the activity of the photographer and the moments of Vie des Arts as open tool of expression ... a vehicle concerned with the portrait and the interior. the primacy of the image. A more direct relationship to time surfaces in the carefully or­ To this delight for the eye that we have tried to make unending, chestrated sequence of these images. From age to youth to age, we we invite our readers for the hundredth time. As much as possible are introduced to couples and individuals in rural and urban commu­ we have been vigilant to see that each article and each document nities. The first images present older couples who display close shall be exceptional, and it is for this reason that we have entrusted physical contact, individuals who surround themselves with tangible the production of the cover to artist Pierre Guimond. Perfectly in reminders of their past. In the portrait of Andor Pasztor, a bureau tune with the sensibility of his period, he has admirably perceived covered with photographic memorabilia provides a context. The the explosion of contemporary art; with collage and drawing he colour interior heightens detail: the photos hung with visible paper castigates the usual limits of the means of expression, clichés where picture hangers, two digital clocks, one of them midway between non-sense abounds and he seeks to re-create wholly, with a great 1:32 and 1:33, a radio. Next to him, Lola Lanyi in her housecoat deal of imagination and humour, the image of another reality. stands at the entrance to her living room which has a proliferation In conclusion, as prelude to the many events that will mark the of images of women: 5 or 6 paintings, a mask and the everpresent twenty-fifth anniversary of Vie des Arts in 1981, we are happy to television set with a 525 line female. All these details signify the announce the recent publication of the Index of the magazine for accumulation of goods over time, goods which are indicative of the the years 1966-1976. A long and exacting labour undertaken by our individual's personal history. The interior adds to the exterior phy­ colleague, Jules Bazin, this instrument of work will certainly be of sical presence of the individual. use to the researchers who have impatiently been waiting for it. This Index casts light on the inventory of artistic activity that the maga­ Life-size zine has produced in a decade. Subsequent images trace two teenagers and their parapher­ One may wonder, "What next after the hundredth?" The same nalia: zappy wallpaper, magazine cut-outs of Dallas Cowboy cheer­ care, a ceaseless effort toward a better understanding of the crea­ leaders and Farrah Fawcett-Majors. Young couples relax in their tive experience and the most thorough vigilance in order not to makeshift environments. Individual men, most of them artists, in­ allow to pass unnoticed the artist of to-day or of to-morrow for whom cluding the photographer himself, are scrutinized in their work meaning is again linked to an idea of value. place. Finally we are gently led back to an older couple and an edlerly woman from Lotbinière, flanked by a photograph on her wall (Translation by Mildred Grand) which reminds us of Andor Pasztor, his photo memorabilia and the 86 beginning of the series. This is an attachment to everyday life, the bition and elsewhere. This does not mean that the exhibition suffers couples and the singles, youth and age, unknown people with no severely, but simply that there are relatively weaker points, given public myths except what the photographs bring to the viewer.
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